Daily SXSW
SXSW Music Review: Nicole Atkins/Erin Rae
“I wrote a song about how much modern Nashville country music sucks,” said Nicole Atkins before leading the crowd in a sing-along of “As Country Was,” John Paul White jumping onstage for the chorus. It proved an apt anthem for Single Lock Records’ Friday night showcase at Cooper’s BBQ, the Alabama imprint co-founded by White rostering a new Nashville sound.

11:55AM Sat. Mar. 16, 2019, Doug Freeman Read More | Comment »

SXSW Music Review: Bush Tetras
Johnny Rotten snarled to Rolling Stone in 1978 that the Sex Pistols were “a great dance band that’s out to destroy rock & roll.” Clearly, the man about to revert to John Lydon didn’t know Bush Tetras stood on the horizon.

11:35AM Sat. Mar. 16, 2019, Tim Stegall Read More | Comment »

SXSW Music Review: Swervedriver
Never the most demonstrative band, Swervedriver’s stage moves consist of simply playing the instruments and singing the songs, trusting its powerful and peerless catalog of alternative rock gems to carry a show.

11:20AM Sat. Mar. 16, 2019, Michael Toland Read More | Comment »

SXSW Music Review: The Beths
Auckland, New Zealand’s the Beths established themselves as a buzz band this year at SXSW, beginning with a bold, punchy, guitar-pop takedown at Mohawk on Monday night. By Friday’s 9pm slot at Rolling Stone’s Native Hostel Showcase, their mood had shifted.

11:10AM Sat. Mar. 16, 2019, Libby Webster Read More | Comment »

SXSW Gaming: Noclip Says Love Your Developers
In this epoch of social media, the discourse around games is ruled by the hot take. What works, what’s broken, how much worse a game is than its competition, and a heaping helping of shade thrown on the company that made it, to boot – nothing is off-limits when it comes to picking apart the latest release.

11:00AM Sat. Mar. 16, 2019, Tucker Whatley Read More | Comment »

SXSW Music Review: MUSICOMEXP by Aurélie Ferrière
On Friday, in a seat-strewn theater, an elevator pitch projected onto a screen stationed centerstage. The short video prepped patrons shifting in the half-full Hideout for Aurélie Ferrière’s high seas voyage aboard the Fleur de Passion, a sailboat out on a four-year cruise to sonically map our oceans.

10:50AM Sat. Mar. 16, 2019, Rick Weaver Read More | Comment »

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SXSW Music Review: Shao
China’s Shao Yanpeng traveled long distances to be at Plush on Friday night. The producer lost his passport just before his set. “I drove to Houston and back to get a temporary passport today,” he explained as London’s Jaguar spun house music to a happily churning, full dance floor.

10:30AM Sat. Mar. 16, 2019, Christina Garcia Read More | Comment »

SXSW Music Review: Japan/Korea Summit
For years, SXSW meant a disparity of access. Without a badge or an RSVP robot, navigating lines proved a nightmare. Yet here we are in 2019, where on Friday night at Cheer Up Charlies, there was no line at 10:30pm and the cover came in at a “whopping” $5 should one not have an official credential or SXSW wristband.

10:15AM Sat. Mar. 16, 2019, Dan Gentile Read More | Comment »

SXSW Film Review: The Day Shall Come
In his groundbreaking and brilliantly confrontational news spoof Brass Eye, British satirist Chris Morris would in each episode take(down) a hot button topic, reflected in the title: “Sex”; “Drugs”; “Crime”; etc. If his new tragicomedy followed that model, it would be called “Security Theater.”

10:00AM Sat. Mar. 16, 2019, Richard Whittaker Read More | Comment »

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